"Fuzzy Meadows: The Week in Review" is a weekly round-up of the best new music premiered this week across the internet. It's a weekly embarrassment of riches, let Post-Trash be your guide. It's the weekend, here's what happened...

"Despite being recorded in a tiny town, Sugarwater is anything but small. There are synths, auto-tuned vocals, and jazz-influenced structures. It's slow and winding. It's sweet, but also a little bitter. This is an album for transitioning from the chill of the year's end to the vague promise of fresh beginnings in a new year." - Leah Mandel, The Fader

"Excluded is a record that sounds like the feeling of being not cool enough for punk. Gritty breakdowns and power chords two-step together to gnarled vocals. The excitement in the music can often lead to disassociated pain, the fun beginning of "Watching The Paint Dry" leads into a stretched guitar section that wanders around and feels like you're coming down." - John Hill, Noisey

"Marge and Gunk have issued a collective release, which you can stream below. Appropriately titled garge munk, the 11-minute run of music bookends a pair of gritty yet calm Marge tracks, while Gunk takes a fuzzy bass/percussions rolling approach, balancing the heady vibes with a jarring bite. These sonic puzzle pieces fit together noisey crunchiness with a smooth finish."

"'Pure Mood' is a complex thrill-ride that's seeped in fervent shoegaze and lingering lyricism, proving Ringo Deathstarr are the torch-bearers of the movement and continue to contort and mutate into something beautiful."

"Leaper, ebbs and flows with varying levels of fuzzy guitars and driving rhythms. Song titles like "Ghosts," "Morning Light" and "Swooner" might give a hint to the diaphanous sheets of sonic gauze that adorn their tunes but which never fully obscure the catchy melodies therein. And the perfect blend of their male/female vocals keep things modern." - Eric J. Lawrence, KCRW

"a psyched-out sludge-bomb, dousing its Christmassy sentiments in feedback and gut-wrenching bass. There’s the odd moment of uplift from a far-more-Halloweeny-than-anything synth line, meandering away in the background, but other than that it’s sludgy, psychy pop" - Tom Connick, DIY

"...And You Will Know Us By The Trail of Dead's Conrad Keely has announced his debut solo album called Original Machines, which will come out January 22 via Superball Music. Listen to the first track, "In Words Of A Not So Famous Man"

"We have absolutely no idea of the intricacies of Ninja, but vocalist Becca told us it’s “a game of stride and brotherhood. As is this video. We love you all.” The track is a cutting, fuzzy, passionate offering, recalling the likes of Swearin’." - Will Richards, DIY

"Don’t expect the tsunami of shoegazy, ’90s-peering bands to end anytime soon... Luckily, this Washington, DC, entry into that wave has some solid hooks, a firm grasp on the sheer volume wash of it all, add a drummer who won’t let the others fumble into head held down pose." - Eric Davidson, CMJ

"After a slow, creeping intro, the song kicks into a driving punk anthem that'll have you stomping around and punching holes in the wall. It's a hard-hitting, noisy and messy punk track — just what we've come to expect from this band." - Josiah Hughes, Exclaim

"Lysol’s demo—which preceded another tape release, On the Corner, available via Perennial though apparently not streamable online—is a proper composite of the player’s earlier outings, coupling the mid-tempo swagger and bombast of regional peers like Vexx with serrated vocals." - Sam Lefebvre, Impose

"Jeez Louise is a harmonically dense EP, with exceptional richness for what is essentially a bedroom record, and it’s Hartunian’s production style that makes Follies begin to stand out as a band with a unique, identifiable sound. There’s a discernible palate on Jeez Louise—tape saturation, just-short-of-cheesy reverb, washed out cymbals, whip-craked snares, guitar fuzz that fills the entire frequency spectrum." - Tristan Rodman, Portals

"1779 deals in something far more muscular, a near four-minute brazen display of chugging guitars and Ray Weiss’ drunken-waltz of a lead vocal, the kind of guttural catapult that throws in you straight in to the blinding light whether you cared for it or not. Like feeling wildly wasted in the frenetic rush of the day, it’s an energetic and wholly impulsive moment of escape" - Tom Johnson, GoldFlakePaint